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In Reply to: RE: Well, no it doesn't posted by Analog Scott on November 16, 2015 at 13:23:57
The reality is, no soloist can play music that the orchestra cannot accompany. The orchestra must have the orchestral parts. So the soloist cannot choose to play just anything he/she wants. The soloist can play anything the orchestra has music for.It's very nice that San Diego Symphony had access to the orchestral parts for Tchaikovsky PC2. And since Ms. Yang now plays mostly with major orchestras with large libraries, she has more flexibility. (I suspect the SDSO borrowed the orchestral parts for this from the LAPO.)
Try that in Petaluma, KY or Fargo, ND or Augusta, Maine or Cheyenne, WY or any of the other hundreds of regional orchestras. It is unlikely that they would have the music.
It's wonderful that Ms. Wang can play whatever she wants with major orchestras. That is not the case for most soloists who are playing with smaller orchestras.
As for Tchaikovsky PC2, Tchaikovsky is a major composer. Let us know when she decides she wants to play a concerto by Paderewski (Rachmaninoff's primary competitor on the concert stage), Rufinatscha,Litoff, Bortkiewicz, McDowell, Scharwenka, Moszkowski, Tcherepnin, Pfitzner or Martucci. They are all terrific concertos. If she finds an orchestra with the music to accompany her, and if they are willing to put an unfamiliar composer on their program, I'll definitely be there.
"Life without music is a mistake" (Nietzsche)
Edits: 11/16/15Follow Ups:
If a piece came along that would fill the seats, most orchestras would rent the parts pdq. (The parts in orchestra libraries are basically old public domain material.) I'm sure John Williams makes plenty of cash from all those symphony orchestra pops concerts of his movie music.My college orchestra rented the parts to do a number of 20th century works. But I went to a college with a very large endowment. And our concerts weren't free admission.
Edits: 11/16/15
It is possible to get the music for some lesser known works. There remains the challenge of convincing soloists to learn them and offer to play them, and orchestras willing to schedule them.
"Life without music is a mistake" (Nietzsche)
One conductor friend of mine, Jason Klein, conducts a local orchestra here in the SF Bay Area - the Saratoga Symphony. He loves a lot of the out-of-the-way repertoire (just as many of us on this forum do), and tries to persuade his soloists NOT to play war horses. At one of his concerts I attended years ago, Natasha Paremski played the Scharwenka Concerto No. 1. And last week, I was talking with Theodora Martin-Serbanescu, and she mentioned that she played (or was about to play - can't remember which now) the Scharwenka Concerto No. 4 with Jason and his orchestra. BTW, many of these parts have not been under copyright for quite a while, and are now available on IMSLP. So all that an orchestra like the Saratoga Symphony needs to do is just print them out!
Maybe so. But I've just learned some here consider Tchaikovsky's 2nd piano concerto out-of-the-way repertoire. Others here seem to think music died with Rachmaninoff.
Of course, there's no point in arguing about any of that. Just as there's no point in slamming people for not yet listening to Janine Jansen's Brahms/Bartok recording. Sheesh, Chris, the CD isn't even out yet! It sometimes takes me years! So let's both move on.
Yes - how silly! Everyone knows that music actually died in 1957!
EDIT: I just realized you thought that you were among those in the "JJ looks old" thread (26,000 views and counting!) whom I was "slamming" for not discussing JJ's actual performances on her new recording. Actually I had other folks in mind - we're good. OTOH, just because the album is not out on CD yet doesn't mean people can't listen to the download. ;-)
Edits: 11/16/15 11/17/15
"The reality is, no soloist can play music that the orchestra cannot accompany. The orchestra must have the orchestral parts. So the soloist cannot choose to play just anything he/she wants. The soloist can play anything the orchestra has music for."
And as such, if an orchestra is not willing to play what Yuja wants to play she doesn't play with them. Again it is a take it or leave it situation.
"It's very nice that San Diego Symphony had access to the orchestral parts for Tchaikovsky PC2. And since Ms. Yang now plays mostly with major orchestras with large libraries, she has more flexibility. (I suspect the SDSO borrowed the orchestral parts for this from the LAPO.)"
That is certainly quite possible that they had to borrow it. But that would simply show who is calling the shots. Look at what Yuja played there. She played the concertos she has chosen to add to her repertoire and is playing at most of her concerts for the next year or so. Her choice. Not the San diego symphony. They agreed to her choices. That's why she played there. If they demanded something else they would not have had her.
"Try that in Petaluma, KY or Fargo, ND or Augusta, Maine or Cheyenne, WY or any of the other hundreds of regional orchestras. It is unlikely that they would have the music."
That certainly is not why Yuja is not playing those pieces.
"It's wonderful that Ms. Wang can play whatever she wants with major orchestras. That is not the case for most soloists who are playing with smaller orchestras."
Well yeah, that is what I said...
"As for Tchaikovsky PC2, Tchaikovsky is a major composer."
You are moving the goal posts. It is an obscure concerto. Hardly anyone ever plays it and for good reason. It's incredibly hard to play.
"Let us know when she decides she wants to play a concerto by Rufinatscha,Litoff, Bortkiewicz, McDowell, Scharwenka, Moszkowski, Tcherepnin, Pfitzner or Martucci. They are all terrific concertos. If she finds an orchestra with the music to accompany her, and if they are willing to put an unfamiliar composer on their program, I'll definitely be there."
She has already decided to do Messiaen's Turangalila. Again, her choice. And, at my suggestion believe it or not, she is probably going to be doing Esa Pekka Salonen's Piano Concerto. She didn't like it at first but it grew on her.
I just can't see how she is the lone person in classical music that does this. Do you really think that orchestras dictate repertoire to Itzhak Perlman, Joshua Bell, Martha Argerich, Andras Schiff, Sarah Chang, Anne Sophie Mutter, Yo Yo Ma or any of the other soloists of this status?
I'd like to be a fly on that wall when some orchestra tells one of these stars what they can and can not play. Oh wait, been there done that.
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